The allrunes Font and Package. - CTAN

The allrunes Font and Package.
Version 2.1
Carl-Gustav Werner
http://www.maths.lth.se/˜carl/allrunes/
2004/01/06
Abstract
The allrunes font and package is aimed for typesetting runes. It is supposed
to cover all the Germanic runes. Separate font families are set up for
six main types of runes: Common Germanic, Anglo-Frisian, normal (Scandinavian),
short-twig (Scandinavian), staveless (Scandinavian) and medieval
(Scandinavian). Within each font family a lot of varieties are supplied. All
varieties exists as both Metafont fonts and type1 fonts as well.
Contents
1 Introduction 1
1.1 About the Documentation . . . . . . . . . . . . . . . . . . . . . . . 1
1.2 Notes on Installation . . . . . . . . . . . . . . . . . . . . . . . . . . 1
2 The Fonts 2
2.1 The METAFONT files . . . . . . . . . . . . . . . . . . . . . . . . . 2
2.2 The type1 font files . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
3 The L ATEX files 3
3.1 The L ATEX and NFSS Support . . . . . . . . . . . . . . . . . . . . . 3
3.2 Font Selection Commands . . . . . . . . . . . . . . . . . . . . . . . 4
3.3 Shape and Series Selection Commands . . . . . . . . . . . . . . . . 4
3.4 Sizes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
4 On runological design decisions 5
4.1 The font families . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
4.2 Excluded runes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
5 Bugs and shortcomings 7
6 Some examples 8
7 Tables for all the runic characters 10
1

1 Introduction
This package contains the METAFONT source and driver files for the allrunes font
families, type1 files for the main varieties, plus a L ATEX package to utilize those
fonts, along with a number of font definition files, as required by the New Font
Selection Scheme (NFSS).
1.1 About the Documentation
The full documentation of this font and package is rather large, something like
187 pages actually. Most of it is the METAFONT programs for the characters
for the fonts; to make them visible, just remove the \OnlyDescription from the
preamble of allrunes.dtx.
1.2 Notes on Installation
The information in this documentation can be usefull if you intend to install
the allrunes font and package, and it is intended be sufficient. However, in some
TeX-implementations (like MiKTeX) the allrunes font and package is part of the
distribution; in such cases it is easier to use that.
2 The Fonts
Both METAFONT source files and type1 font files are supplied. It is recommended
to install either just the METAFONT files, or both of them.
2.1 The METAFONT files
Base File and Source Files The names of the base file and the files containing
the code for the characters of the allrunes font all starts with the letters fru. The
next five possible letters reflects what kind of code is contained within the file,
e.g., the base file ends in base, the file containing the code for the word separators
end in sep, and so forth.
Font Driver Files The font driver filenames has been chosen to conform to the
fontname scheme, as far as possible.
The filename all contain the three characters fru, where, according to the the
fontname scheme, f stands for public and ru for runic.
Next comes one of the following letters: c (Common Germanic), a (Anglo-
Frisian), n (Normal), t (Short-twig), l (Staveless) or m (Medieval) which represents
which of the six rune font families it is.
Then comes another letter, which is one of: l (Light face, without lines), m
(Medium, without lines), b (Bold face, without lines), k (Light face, with lines), n
(Medium, with lines) or c (Bold face, with lines), which represents the series, and
with/without alignment lines.
2

and finally comes one of following: s (Straight twigs, top twig not lowered), n
(Curved twigs, top twig not lowered), r (Rounded twigs, top twig not lowered), t
(Straight twigs, top twig lowered), m (Curved twigs, top twig lowered) or q (Rounded
twigs, top twig lowered), which represents two kinds of shape — the curvature of
the twigs, and the position of the top twig.
The most reasonable place for the fru*.mf files provided with this package is
in a directory named
〈mf–source–base–dir〉/public/allrunes/.
This way of naming the font driver files will, if kpathsea is in use, put the fru*.pk
files in
〈pk–base–dir〉/public/allrunes/
and the fru*.tfm files in
〈tfm–base–dir〉/public/allrunes/.
2.2 The type1 font files
The names of the type1 font files (the fru*.pfb files) are identical to the corresponding
fru*.mf files, with just the suffix exchanged.
The most reasonable place for the fru*.pfb files provided with this package
is in a directory named
〈type1–base–dir〉/public/allrunes/.
The type1 font files are generated from the METAFONT font files with the
program mftrace [Nienhuys 2003].
The map file To be able to use the type1 fonts, programs like dvips and pdflatex
needs information about which *.pfb file a certain fontname corresponds to. This
information is normally stored in a file 〈dvips-base-dir〉/config/psfonts.map, but
additional information may reside in other *.map files. In the allrunes bundle, a
such file called allrunes.map is supplied. There are several reasonable places for
it, but 〈dvips-base-dir〉/allrunes would be fine.
In recent versions of (at least) the MiKTeX- and teTeX-implementations, the
handling of *.map files is rather simple. Look in the directory 〈tex-base-dir〉/web2c/.
If there is a file called updmap.cfg, open it for editing and add a line:
MixedMap allrunes.map
(if you have both the METAFONT files and the type1 files installed), or
Map allrunes.map
(if you only have the type1 files installed) in some suitable place. Then update
the other *.map files by running the command:
initexmf -v –mkmap
if you are using MiKTeX. If you are using teTeX, use the command:
updmap
Older versions requires more work: edit the file 〈dvips-base-dir〉/config/config.ps,
in which a line:
p +allrunes.map
should be inserted somewhere after the line:
3

p psfonts.map
In a similar way, to make pdflatex find the allrunes.map, insert a line:
map +allrunes.map
somewhere after the line:
map psfonts.map.
in the file 〈pdftex-base-dir〉/config/pdftex.cfg.
3 The L ATEX files
To follow the scheme of the METAFONT files, it would be appropriate to place all
L ATEX files, namely the ar?.fd and the allrunes.sty files, in
〈tex-base-dir〉/tex/latex/allrunes/.
3.1 The L ATEX and NFSS Support
To use the allrunes fonts with L ATEX; load the allrunes package with the command
\usepackage{allrunes}
in the preamble of the document.
3.2 Font Selection Commands
None of the font families is activated as default font, since the runes hardly ever
will be used as the main font throughout an entire document. The commands and
their corresponding declarations, together with some examples of the resulting
output are:
\textarc{text} \arcfamily Common Germanic runes fuþarkgwh
\textara{text} \arafamily Anglo-Frisian runes fuþorcgwh
\textarn{text} \arnfamily normal runes fuþArk:hnias
\textart{text} \artfamily short-twig runes fuþArk:hnias
\textarl{text} \arlfamily staveless runes fuþArk:hnias
\textarm{text} \armfamily medieval runes abcdefghi
3.3 Shape and Series Selection Commands
Within each font family there is the opportunity to choose among a lot of varieties
with the commands and declarations below. Note that almost all of those commands
and declarations only has meaning for the rune font families in the allrunes
package. The exceptions are the two commands and declarations for selecting bold
or medium text, which are standard L ATEX.
First there is the series: bold, medium or light (medium is default)
\textbf{text} \bfseries fuþArk:hnias
\textmd{text} \mdseries fuþArk:hnias
\textlf{text} \lfseries fuþArk:hnias
4

Then there is the choice whether to have alignment lines or not (without is default):
\textwil{text} \withlines fuþArk:hnias
\textwol{text} \withoutlines fuþArk:hnias
Another parameter to vary is the curvature of the twigs (curved is default). This
parameter has a slightly different meaning for the staveless runes.
\textst{text} \straighttwigs fuþArk:hnias fuþArk:hnias
\textcu{text} \curvedtwigs fuþArk:hnias fuþArk:hnias
\textro{text} \roundedtwigs fuþArk:hnias fuþArk:hnias
For those runes that have a joint in the top, there is also an opportunity to chose
whether it should be in the absolute top position (high twigs) or lowered a little
(low twigs). The default is high twigs. This parameter has a slightly different
meaning for the staveless runes.
\texthi{text} \hightwigs fuþArk:hnias fuþArk:hnias
\textlo{text} \lowtwigs fuþArk:hnias fuþArk:hnias
Since in inscriptions, the runes sometimes (mainly in inscriptions with the
Common Germanic runes) were written in just about any direction, there are
commands for reversing them and to turn them round:
\hflip{rune} ő
\vflip{rune} ę
\turn{rune} ű
Note that those three commands only take one rune as argument.
3.4 Sizes
The allrunes package honors all L ATEX standard size changing commands. When
using the METAFONT fonts, the standard sizes of L ATEX: 5, 6, 7, 8, 9, 10, 10.95,
12, 14.4, 17.28, 20.74, 24.88, 29.86 and 35.83 pt are available.
4 On runological design decisions
The purpose of this package is to make it possible writing a scientific paper or
book about runes or runic inscriptions using L ATEX. Since there exist no suitable
official standard for runes, as far as the author knows 1 a few decisions, concerning
the selection of runes, have to been made. Of course you can look up runes in
any encyclopedia and copy them. But runes did appear in many varieties, and in
order to fulfill the purpose above, you have to cover, preferably all, but at least
a great deal of them. The original runes were cut or carved by individuals who
probably didn’t learn about runes in the same school. Therefore there is a more
1 The Unicode Standard (see [Unicode 2000] on runes), is not enough for this purpose. F.x.
are the staveless runes missing.
5

or less continuous variation in shape of the runes. You then have to decide on,
when to consider these variations as just deviations from the main form, and when
to consider them as a distinct form. With this in mind, I have formulated three
possible, and rather different, principles for the design:
• Standard. Find all clearly distinguishable forms and skip all finer variants.
Design the runes similar to the ones used in most literature on runes.
• Art. Be inspired of all original rune inscriptions and design typographically
consistent runic font families, possibly in several different forms.
• Copy. Try to catch as many of all the existing varieties in the original rune
inscriptions without worrying to much about consistent typography.
This resulting package — allrunes — is of course a compromise between all three
of the principles above:
First there is a font family for each of the six main type of runes used: Common
Germanic, Anglo-Frisian, normal (Scandinavian), short-twig (Scandinavian),
staveless (Scandinavian), medieval (Scandinavian). For each font family there is a
default shape/serie that is essentially identical to the most common types. Then
there exist a few different shapes/series: bold/medium/light, with lines/without
lines, straight/normal/rounded twigs and normal/lowered top twig, each of which
is typographically consistent. (Which might result in some few runes that never
have occurred in real inscriptions.) Within each font family all clearly distinguishable
forms are defined, and together with all the typographical varieties
(6 ∗ 3 ∗ 2 ∗ 3 ∗ 2 = 216) this mimics really a lot of the existing varieties.
4.1 The font families
The partitioning of the runes in six main types is of course not undisputable.
Having just one font family with all runes would have some definite advantages,
i.e. runic characters that always had the same appearance wouldn’t need to be
duplicated. On the other hand, runic characters that did change their appearance
through time and space would need rather cumbersome names to be called upon
with. So, how to partition then? The distinction between the older futhark with 24
characters, and the younger (Scandinavian) with 16, is obvious. Also, the younger
futhark have three well recognized subfutharks, the normal, the short-twig, and
the staveless futhark [Jansson 1987]. The runes from England and Frisia, stands
out from the main older futhark, with a few extra runes, 28 or 33 all in all, as
another obvious partition [Page 1999]. That’s the five easy ones.
In Scandinavia the runes continued to thrive and develop well into the medieval
period. The normal runes were complemented, not with new runes (well only
very few, and not commonly recognized), but mostly with ”dotted” runes. In
the 12th century there were runes for all Scandinavian letters, around 29 ones,
but the futhark were still considered to contain only 16 characters! Today, most
runologists therefore set up an anachronistic alphabet with both dotted and undotted
runes. Unfortunately there were some diversification. Some runes appeared
6

only in Greenland, Iceland, Orkney, or Gotland — and in the isolated province
of Dalarna in Sweden a mix of runes and Latin letters developed, where it was in
use into the 19th century. Five more medieval runic alphabets? Or one medieval
runic alphabet containing several runes that never occurred together? I chose the
later one, but excluded the runes from Dalarna. That makes six.
When looking at the older futhark in close detail one can find a lot of different
forms: the Scandinavian-Gothic 175-400, the Scandinavian 400-750, the Continental
400-750, the Frisian 400-750, the Anglo-Saxon 400-650 and the Anglo-Saxon
650-1100 [Odenstedt 1990], [Parsons 1999]. Here at least two font families are
needed, one for the main one, and one for the Anglo-Frisian. But where to draw
the line? The Frisian runes are closer to the main ones than to the late English,
but they also share some very characteristic runes, not found elsewhere.
Similar questions arise for the Continental and Scandinavian runes. When comparing
the different rune forms listed in [Odenstedt 1990], I have decided to just
have the two obvious ones: Common Germanic (i.e. the Continental 400-750,
Scandinavian-Gothic 175-400 and Scandinavian 400-750) and the Anglo-Frisian
(Frisian 400-750, Anglo-Saxon 400-650 and Anglo-Saxon 650-1100). That makes
six font families. I welcome comments.
4.2 Excluded runes
As mentioned above, the mix of medieval runes and Latin letters used in the
province of Dalarna in Sweden, is not covered here.
Cryptic or secret runes, f.x. like the different cipher runes on the stone from
Rök in Sweden, is not covered. This might change in future releases.
Magic runes is another category of runes. They are mostly varieties from the
older futhark, with some features of a rune occurring several times, like the ”firtree”
on the stone from Kylver, which can be interpreted as a t-rune with its
branches six times repeated. None of those are so far included, but might be in
future releases.
Both in inscriptions with the older futhark, and in medieval ones, there are
bind-runes or ligatures, mostly in the form of two runes sharing the same main
stem. Since there exist really many combinations, I do not try to cover those. An
alternative would of course be to cover only those actually occurring in inscriptions.
Finally, there exists several unique runes, known only from one inscription each.
Some are included in the allrunes package, mainly those who ”fit” into the system,
and where the uniqueness probably is due to the sparse number of preserved
inscriptions. Runes whose uniqueness are due to apparently clumsy or ignorant
carvers are most deliberately excluded from the allrunes package. In many cases
it is hard to decide in which of the two above categories a certain rune belongs to.
I might however include some more of those unique runes in future releases.
7

5 Bugs and shortcomings
In addition to all the for me unknown bugs and shortcomings, there are the following
known:
I have not looked at all the runes in all the 216 different forms in different sizes.
Some might look less nice, due to errors in the parameterizations. Please tell me
if you encounter any.
The \vflip{}, \hflip{} and the \turn{} command can not be used together
with commands like \. and \=. To produce f.x. Ŕ you have to write \hflip{g},
not \hflip{\.k}. (That’s the reason why all the ”dotted” runes have alternative
names.) Probably it can be fixed if you use \DeclareTextComand instead of
\DeclareTextComposite (see [L ATEXfCPW 1999]), but I didn’t really figure out
how to do it. Please tell me if you find a reasonable way to handle this.
Perhaps a (virtual) font is needed for the transliteration. A few characters that
are needed are not present in the European modern boldface sans serif font, like
the -i and a suitable uppercase R.
I have now supplied kerning information for all the rune font families, but only
(almost) for the non-flipped versions. There are simply to many combinations
otherwise. As an example of what impact the kerning has, compare:
filaka:krimR (with kerning) with:
filaka:krimR (without kerning).
The kerning is set for the default forms, and is by no means adjusted for the other
forms. This should only result in displeasing appearances in very few cases, but
they need nevertheless to be taken care of (and to be found).
It would be nice to be able to letterspace runes, f.x. with the soul package.
Unfortunately the allrunes and the soul package does not work at all together.
Since the same source is used for all fonts, in all sizes, there is no adaptation for
discretization problems. Therefore you should not expect fine results on printers
with resolution less than 1200 dpi. I find the 12 pt fonts acceptable at 600 dpi,
but not the 10 pt ones.
I have cheated to get nonlinear scaling of the fonts. You will therefore sometimes
get the ”Checksum mismatch” error when generating the pk-files, but that
will not cause any problems, as far as I know. When I understand how the driver
files for the ec font are generated I’ll do something similar for the allrunes fonts
instead.
The type1 fonts are generated from the METAFONT files with the program
mftrace [Nienhuys 2003]. No manual adjustment is made and no hinting information
is added. This might result in displeasing results, especially for small sizes,
but I do not intend to fix such problems, unless it can be automated.
The language of this paper. I’m not a native speaker of English, which you must
have understood by now. Please tell me if you find spelling mistakes, grammatical
errors, or just plain nonsense in the text.
I’m not a professional runologist, and since I have only read a rather limited
amount of runological literature, I might have got a few things wrong. Please tell
me if you find anything that looks doubtful.
8

6 Some examples
In Pforzen, Bayern, Germany, a silver belt buckle was found with the following
inscription:
.aigil.andi.aIlrun
l.taèu:gaÓożun.
In Möjbro, Uppland, Sweden, a stone with an inscription and a picture was
found. The inscription is written from right to left and from bottom to top:
R
śđigśŤÛiśĺśĺśđś
Rśdśòśŕśòő
In Torna Hällestad, Skåne, Sweden, three rune stones are set up in the wall of
the church. The longest inscription of the three reads as follows:
:askil:sati:stin:þansi:iftiR
:tuka:kurěs:sun:saR:hulan:
trutin:saR:flu:aigi:at:ub:
:saluě
satu:trikaR:iftiR:sin:bruþr
stin:A:biarki:stuþan:runuě:þiR:
kurěs:tuka:kiku:nistiR
In England, now at the British Museum, the stone cross from Lancaster has
the following runic inscription:
gibiďæþfo
ræcynibal
þcuþbere
In Hög, Härjedalen, Sweden, a stone has an inscription made with staveless
runes:
kuþniutr;þrusun;litritastinþina;akbrukirþi;aftiRbruþrsina;asbiurn:
akatkuþlaf
On the font (a real font, a baptismal font) in the church of Burseryd, Gotland,
Sweden, medieval runes are used. Except for the bind-runes, which are resolved
here and shown as individual characters, the inscription looks like:
:arinbiorn;gørthI;mik;
uitkunijIr;prIster;skrIf:mik:
ok;hIr;skal:um;stunij;stanta;
9

7 Tables for all the runic characters
On the following pages tables with all the runic characters in all the font families
of the allrunes font are listed, together with the most recognized transliteration of
each rune, and the corresponding L ATEX code in the allrunes package.
The Runic Word Separator Symbols
Separator L ATEX
. \dot or .
: \doubledot or :
; \tripledot
< \quaddot
= \pentdot
. \eye or .
: \doubleeye or :
> \tripleeye
? \quadeye
@ \penteye
! \bar or !
" \doublebar
# \triplebar
+ \plus or +
, \doubleplus
- \tripleplus
* \cross or *
% \doublecross
& \triplecross
$ \star
The runic writing system had no real punctuation marks, but word separator
symbols. To make it simple, all of the symbols in the table above are part of all
the six rune font families, listed below.
I have used the * to produce the symbol * instead of $, which of course had
been more consequent. This is because I want to be able to access it, as being one
of the most common word separators (together with the :), as a single character.
10

The Common Germanic Runes
Main runes Variant forms
Rune Translit. L ATEX Rune Translit. L ATEX
f f f F f F
u u u U u U
þ þ \th or þ
a a a
r r r
k k k ń k \k
K k K
Č k \K
g g g
w w w
h h h H h H
è h \h
n n n
i i i
j j j ł j \j
J j J
A A A
ą A \A
I ï or e. I or ï
p p p ă p \p
P p P
R z or R R Ž z or R \R
z z or R \RR
s s s or \sfour S s S or \ssix
às \s
Ä s \S
Ó s \sthree
ó s \sfive
ä s \sseven
ô s \seight
t t t T t T
b b b B b B
e e e E e E
m m m
l l l
ŋ ŋ \ng or ŋ Ŋ ŋ \NG or Ŋ
ţ ŋ or iŋ \ing
¡ ŋ or iŋ \Ing
İ ŋ or iŋ \ING
11

The Common Germanic Runes (continued)
Main runes Variant forms
Rune Translit. L ATEX Rune Translit. L ATEX
d d d ď d \d
D d D
o o o
Á i \i
á a \a
The main source for the runic characters is [Odenstedt 1990].
Note that the two main forms of the h-rune were not used together. The rune
h was used in Scandinavia, and the rune è was used on the Continent.
Some of the variant forms have uncertain interpretations. I have chosen just
one of the proposed ones. F.x. the ¡ might be a double w (w) or a ligature of i (i)
and ŋ (ŋ), the İ might be a double þ (þ) or a ligature of i (i) and ŋ (ŋ), and the
D might be a peculiar d (d) or a big Ŋ (ŋ). See [Odenstedt 1990] for an overview
of the arguments.
Of the several zig-zag forms of the s-rune, only a few have occurred in inscriptions,
but for the sake of symmetry, forms with all number of strokes from three
to eight are included.
The two runes in the last section are from the stone from Rök, from the part
of the inscription written with common Germanic runes. They have been put in a
separate section here, since being anachronistic, they do not really belong to the
common Germanic runes.
12

The Anglo-Frisian Runes
Main runes Variant forms
Rune Translit. L ATEX Rune Translit. L ATEX
f f f F f F
u u u U u U
þ þ \th or þ
o o o
r r r
c c c Č c \c
g g g
w w w
h h h Ø h \h
H h H
n n n
i i i
j j j š j \j
J j J
I -i I or ï
p p p P p(?) P
x x x
s s s S s S
Ó s \sthree
ã s \sfour
ó s \sfive
Ô s \ssix
ä s \sseven
ô s \seight
t t t
b b b B b B
e e e
m m m
l l l
ŋ ŋ \ng or ŋ
d d d ď d \d
D d D
œ œ \oe or œ Œ œ \OE or Œ
a a a
æ æ \ae or æ
y y y Á y \y
Y y Y
Ä ea \ea
13

The Anglo-Frisian Runes (continued)
Main runes Variant forms
Rune Translit. L ATEX Rune Translit. L ATEX
Ğ ¯g \g ğ ¯g \G
k k k
à ¯ k \k
Ž rex(?) \rex
q q q
Ð st(?) \stan È st(?) \STAN
The main sources for the runic characters are [Odenstedt 1990], [Page 1999] and
[Parsons 1999].
The table is divided in three sections. First comes the 28 ”real” runes. Of the
several zig-zag forms of the s-rune, only a few have occurred in inscriptions, but
for the sake of symmetry, forms with all number of strokes from three to eight
are included. The P rune occurs, as far as I know, only on the Westeremden B
inscription, see [Quak 1994], p. 84-85. There are some other strange runes in this
inscription that I also might include.
In the second section some runes are listed that never seem to have been part
of the futhorc, nevertheless are known from ”real” inscriptions. The symbol Ž only
occurs on coins, and does not seem to be a widely accepted rune; it is described in
[Parsons 1999], p. 84-85. In the last section, two (three) late Anglo-Saxon ”pseudo
runes” have been listed. They have, as far as I know, never been used for ”real”
writing, but occur only in late manuscript futhorcs; probably as a product of runic
antiquarians. Often a rune j called ior is taken to this group. I consider it equal
to the main variant of j. For these ”pseudo runes”, [Parsons 1994] provided most
of the information.
When transliterating the runes there are several systems to choose from. I have
used what I think is most common practice, bold sans serif, for all kinds of runes,
even for the Anglo-Saxon runes. I’m however well aware of the the Dickins-Page
system, with letterspaced medium roman characters within single quotes, which
is preferred by at least some British runologists. More on this can be found in
[Derolez 1995]. Compare eadric with ’ea d r i c’, for Ädric.
14

The Normal Runes
Main runes
Dotted runes and
variant forms
Rune Translit. LATEX Rune Translit. LATEX f f f F f F
u u u y y \.u or y
þ þ \th or þ Þ þ \TH or Þ
A ą A Á ą \A
r r r
k k k g g \.k or g
h h h
n n n
i i i e e \.i or e
a a a
s s s S s S
t t t
b b b B b B
m m m ě m \"m or \m
M m M
Ě m \"M or \M
l l l
R R R
The runic characters are compiled from the following sources: [Åhlén 1997],
[DRI 1941-1942], [Enoksen 1998], [Jansson 1987] and [Moltke 1985].
15

The Short-Twig Runes
Main runes Variant forms
Rune Translit. L ATEX Rune Translit. L ATEX
f f f F f F
u u u U u U
þ þ \th or þ Þ þ \TH or Þ
A ą A Á ą \A
r r r
k k k
h h h ă h \h
n n n
i i i
a a a
s s s ş s \s
t t t ť t \t
T t T
b b b  b \b
m m m ě m \m
M m M
l l l ij l \l
L l L
R R R Ž R \R
The runic characters are compiled from the following sources: [Enoksen 1998],
[Jansson 1987] and [Moltke 1985].
16

The Staveless Runes
Main runes Variant forms
Rune Translit. L ATEX Rune Translit. L ATEX
f f f
u u u
þ þ \th or þ
A ą A Á ą \A
r r r
k k k
h h h
n n n
i i i
a a a
s s s
t t t
b b b
m m m
l l l
R R R
The main source for the runic characters is [Peterson 1994].
This font covers the staveless runes known mainly from Hälsingland, Sweden.
Other staveless runes occurred in Södermanland, Sweden; they are not covered
here.
The rune for ą has never been found in a typical inscription. Its assumed
appearance, A, is based upon the symmetry considerations, and is a rather widely
accepted guess. However, in a late Norwegian inscription, the form Á was used,
p. 244 in [Peterson 1994].
The height of the f, k, h and s runes could vary quite a lot; here only some kind
of average form is used.
17

The Medieval Runes
Main runes Variant forms
Rune Translit. L ATEX Rune Translit. L ATEX
a a a fl a \a or \.a
Ñ a (or å) \adot or \’a
A a A
b b b B b B
c c c Ż c \c or \.c
C c C or \^c
d d d or \.t ď d \tbar or \=t
ij d \tdot or \’t
ť d \tflag or \~t
IJ d \tring or \^t
D d D or \.T
Ď d \D or \"T
e e e or \.i I e \e or \=i
E e E or \^i
f f f F f F
g g g or \.k G g G or \’k
_ g \g or \=k
h h h ĺ h \h
H h H
i i i
k k k
l l l L l \l or \.l
ň l \lbar or \=l
Ì l \ldot or \’l
Ä l \lflag or \~l
| l \lring or \^l
m m m Ü m \m
n n n ę n \n or \.n
¿ n \ndot or \’n
N n N
Æ n \N or \.N
o o o
p p p or \"b è p \p or \.b
ř p \P
ÿ p \Pdots or \"\P
P p P
q q q Ü q \q
Q q \Q
r r r ´ ¨r \rdot or \.r
R r \r
18

The Medieval Runes (continued)
Main runes Variant forms
Rune Translit. L ATEX Rune Translit. L ATEX
s s s S s S
ż s \S
t t t T t T
Ô t \T
þ þ \th or þ Þ þ \TH or Þ
đ þ \thth
ð ð \dh or ð or \.\th Ð ð \DH or Ð or \.\TH
u u u
v v v or \.u V v V or \.f
W v \v or \’f
^ v \V or \~f
w w w
x x x Ă x \x
X x X
Ĺ x \X
y y y Y y Y
v y v or \.u
U y \y or \"u
] y \Y or \=u
z z z č z \z
Z z Z
æ æ ä or æ or \ae
ø ø \o or ö or ø Ø ø \O or Ö, Ø
Œ ø \oo
ß ø \oO
J ey or øy \ey
ś \arlaug
ź \tvimadur
Á \belgthor
j j j
å å å or \aa
The main source for the medieval runic characters is [Runmärkt 1994], with support
from [DRI 1941-1942], [Enoksen 1998], [Jansson 1987], [Moltke 1985] and
[Haugen 1996] (despite the claim in the later of ”ikke må oppfattatast som nokon
autoritativ katalog”). Finally, the rune ÿ from Schleswig, is from [Spurkland 1994]
and the rune ´ is from [Larsson 2002].
The table is divided in three sections. First come the ”real” runes, as an
alphabet, not as an futhark. Next, the three bind-runes that always occurred
in rune staves (runic calendars) are listed. Finally come two runes used by, and
invented by, a modern Swedish rune carver, Kalle Dahlgren, [Dahlgren 2000] to
make it possible to use runes for writing in the Swedish language of today. I put
19

them here because modern swedish rune carvers essentially use the medieval runes
— complemented with these two. However, Kalle Dahlgren has changed his mind,
and now uses the Ñ rune instead of the å for the letter å.
Note that the runic symbols for c, s and z respectively, were to an large extent
interchangeable. In the table above they are however not duplicated.
References
[Åhlén 1997] Åhlén, Marit. 1997. Runristaren Öpir. Runrön 12. Uppsala.
[Barnes 1994] Barnes, Michael P. 1994. The Runic Inscriptions of Maeshowe,
Orkney. Runrön 8. Uppsala.
[Dahlgren 2000] Dahlgren, Kalle. 2000, 2003. http://www.runristare.se/
[Derolez 1995] Derolez, René. 1995. ’On the ”Otherness” of the Anglo-Saxon
Runes and the ”Perfect Fit” of the Fuþark’. In: Runeninschriften als
Quellen interdisziplinärer Forschung. Ergänzungsbände zum Reallexikon der
Germanischen Altertumskunde 15. Berlin/New York.
[DRI 1941-1942] Danmarks runeindskrifter. Ed. Jacobsen, Lis & Moltke, Erik.
København 1941-1942.
[Enoksen 1998] Enoksen, Lars Magnar. 1998. Runor. Historia, tydning, tolkning.
Lund.
[Haugen 1996] Haugen, Odd Einar. 1996.
http://www.hit.uib.no/Runefonter/Gullskoen.html
http://www.hit.uib.no/Runefonter/AlfabetGullskoen.pdf Alfabetisk
oversyn over Gullskoen runefont, versjon 2.1. Bergen.
[Haugen 2001] Haugen, Odd Einar. 2001.
http://www.hit.uib.no/Runefonter/Gullhornet.html
http://www.hit.uib.no/Runefonter/AlfabetGullhorn.pdf Gullhornet
runefont. Oversyn over inventaret i versjon 1.0. Bergen.
[Jansson 1987] Jansson, Sven B. F. 1987. Runes in Sweden. Stockholm.
[Larsson 2002] Larsson, Patrik. 2002. Yrrunan. Användning och ljudvärde i
nordiska runinskrifter. Runrön 17. Uppsala.
[L ATEXfCPW 1999] L ATEX for class and package writers. Comes with the
L ATEX 2ε distribution as clsguide.tex. 1999.
[Looijenga 1997] Looijenga, Tineke. 1997. Runes Around the North Sea and On
the Continent AD 150-700; Texts & Contexts. Groningen.
[Moltke 1985] Moltke, Erik. 1985. Runes and Their Origin. Denmark and
Elsewhere. Copenhagen.
20

[Nienhuys 2003] Nienhuys, Han-Wen. 2003.
http://www.xs4all.nl/~hanwen/mftrace/ mftrace - Scalable PostScript
Fonts for MetaFont. Utrecht.
[Odenstedt 1990] Odenstedt, Bengt. 1990. On the Origin and Early History of
the Runic Script. Typology and Graphic Variation in the Older Futhark.
Uppsala.
[Page 1999] Page, R. I. 1999. An Introduction to English Runes. Second Edition.
Woodbridge.
[Parsons 1994] Parsons, David. 1994. ’Anglo-Saxon Runes in Continental
Manuscripts’. In: Runische Schriftkultur in kontinental-skandinavischer und
-angelsächsischer Wechselbeziehung. Ergänzungsbände zum Reallexikon der
Germanischen Altertumskunde 10. Berlin/New York.
[Parsons 1999] Parsons, David N. 1999. Recasting the Runes. The Reform of the
Anglo-Saxon Futhorc. Runrön 14. Uppsala.
[Peterson 1994] Peterson, Lena. The Graphemic System of the Staveless Runes.
In: [3:d ISRRI 1994].
[3:d ISRRI 1994] Proceedings of the Third International Symposium on Runes
and Runic Inscriptions. Runrön 9. Ed. James E. Knirk. Uppsala 1994.
[Quak 1994] Quak, Arend. Zur Inschrift von Westeremden B.
In: [3:d ISRRI 1994].
[Runmärkt 1994] Runmärkt. Från brev till klotter. Runorna under medeltiden.
Ed. Benneth, Solbritt & Åhlén, Marit. Stockholm 1994.
[Spurkland 1994] Spurkland, Terje. ř and p: One Grapheme or Two?.
In: [3:d ISRRI 1994].
[Unicode 2000] http://www.unicode.org/charts/
[Werner 2002] Werner, Carl-Gustav.
http://www.maths.lth.se/~carl/allrunes/
21